Deviant beauty from the trio of Heddy Boubaker (sax), Ernesto Rodrigues (viola) and Abdul Moimeme (prepared electric guitar), dark and sinister improv using extended techniques and a quietly turbulent approach.
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Label: Creative Sources
Catalog ID: CS194
Squidco Product Code: 15032
Packaging: Jewel Tray
Recorded at tcha3 by Joel Conde on October 17th, 2010.
Heddy Boubaker-alto saxophone, bass saxophone
Abdul Moimeme-prepared electric guitars
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1. Le Chant De La Pluie 9:06
2. Singulier Grain De Sable 6:19
3. L'arbre Qui Ne Cache 9:28
4. Tempête Éteinte Des Passions 10:50
5. L'échec Des Machines Formidables 5:32
6. Un Beau Matin, La Déchirure 10:07
European Improv, Free Jazz & Related
sample the album:
"[...] Released on Creative Sources (disc 194!) the album is titled Le Beau Déviant. I listened again on my way home from work, and then again a couple of times properly this evening on a decent stereo through which I could never have mistaken it for Michael Pisaro...
Le Beau Déviant [deviant beauty] is indeed a quite good title for this release. Its a set of six straight-up improvisations of three instruments played non-melodically, non-conventially and yet sounding much like we might expect, a mix of squealing, slithering reeds, rasping and groaning strings and the less predictable humand crack of electric guitar. Moimeme's contributions here, perhaps unsurprisingly form the main branching-out point for this music, as his sounds barely resemble a guitar, instead having the feel of an intimate form of industrial or mechanical processes, all thuds and fizzes and various other points in between. Its all a quite aggressive affair, not really loud or dynamically confrontational, but somehow the music feels like a tussle over important issues, a hot headed debate rather than anything soft and beautiful. Things rasp and wail and bubble around one another, not too fast and not without a sense of space, but this equally isn't a subdued affair. I'm not sure as to how much the musicians had played together at the time of this recording in October last year, but there does seem to be a nice balance here, perhaps formed in part from the mix of instrumentation which brings a little of everything to the equation.
While there is a confidence to the playing though, and no sign of any "feeling out" of the musical scenario it does't all just build to some kind of climax. The trio tussle and tubule around each other at an even pace and with considerable thought throughout.I can't make any great claims of this disc to be any more than it isa CD of a well chosen improvising trio producing a disc that is a pleasure to wallow in, thoroughly engaging to sink your ears into.
As I spend more and more time with his music, I find myself enjoying Ernesto Rodrigues' work more and more though. Its not that anything he appears on attempts to rewrite the rules, and it often sounds how you imagine it might, but my enjoyment of his music, and also of Le Beau Déviant comes out of this factor. We can put innovation to one side here, and just spend some time listening to musicians lock horns and find a way to make music together. The end result is a pleasing, well recorded set of six works, but the journey we follow as listeners here, perhaps trying to break apart the music in our heads to figure out which sound comes from where, perhaps doing the opposite and trying to meld it all together is what makes listening to this release so worthwhile. One of these days I will try and narrow down the albums of Ernesto Rodrigues to four or five I can really recommend, but when I do I suspect that several from this recent rich vein of form will be on the list. None of them though, sound like Michael Pisaro."-Richard Pinnell, The Watchful Ear
At The Squid's Ear!
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• Show Bio for Ernesto Rodrigues
"He has been playing the violin for 30 years and in that time has played all genres of music ranging from contemporary music to free jazz and improvised music, live and in the studio.
His main interest shifted towards contemporary improvised and composed music.
The relationship with his instruments is focused in sonic and textural elements.
Electronic music was an early influence on his approach to violin playing, which challenges traditional romantic concepts of the violin/viola through use of preparations and micro tuning.
Active in different settings on the Portuguese scene for free improvised music, both as a collaborator and in leading his own groups.
Music for Dance, Cinema, Video and Performance.
Has created the record label Creative Sources Recordings in 1999, which mainly concentrates on releasing experimental and electro-acoustic music."-Creative Sources (http://creativesourcesrec.com/creative_artists.html)
^ Hide Bio for Ernesto Rodrigues
• Show Bio for Abdul Moimeme
"Abdul Moimême was born in Lisbon, in 1959, moving at an early age to New Mexico and later to Dublin, Ireland. He began studying the guitar at the age of 11, studying under various private teachers, in Madrid, Spain.
In 1979 he moved to Boston to study architecture, finally completing his degree at the University of Lisbon.
In the 90's he began studying the tenor saxophone with Patrick Brennan. In this period he became actively involved with Lisbon's improvised and alternative rock scenes, performing frequently with the Variable Geometry Orchestra since it's creation in 2003, as well as with various other local projects.
His main musical partners are from Lisbon and Porto, but he has also performed in public concerts with such artists as Gale Brand, George Haslam, Jon Raskin, Ken Filiano, Patrick Brennan, Steve Adams, and Wade Matthews.
In 1999 he started writing about jazz in various Portuguese publications and is currently a permanent collaborator of Jazz.pt magazine, and Publico newspaper, as a critic.
In 2006 he created Freemusic (http://freemusic.podomatic.com), a space exclusively dedicated to the promotion of Portuguese improvised music."-Creative Sources (http://creativesourcesrec.com/creative_artists.html)
^ Hide Bio for Abdul Moimeme